idpms - design development workshop 2005 - group 2

Contents

1. Introduction 1

2. Innaguration 2

3. About IDPMS 3

4. Sisal Fibre 5

5. Approach and Design intrevention 7

6. Learning in the workshop 8

7. Design Workshop 10

8. Products Developed 13

9. Participants 23

10. Conclusion 25

11. Recomendations 26

12. About Designer 27

13. Acknowledgements. 29

The people of Tenkal mole and Badagala moleNear Kuderu, Chamarajanagar Dist, are mainly into agricultural labor and in rope making craft.Sisal is abundantly available in the area and thepeople are involved in makig ropes to sell in thelocal weekly markets.

These ropes are sold in bundles and are used fortieing cattle , bullock cart etc. The demand forsisal rope is limited and therefore the people havestarted making ropes from the plastic Cementbags.

The Bags are ripped apart in strands and thenthe strands are spun into ropes that areapproximately 8mm in diameter. Four of theseropes are twisted together to form a thick rope.

In the villages, children and ladies are involved inthe stripping of strands and the spinning of ropeis done by the men folk. This way it is a goodteam work and at the end of the day the womenare able to earn Rs.15 to 25, and that is how thelife goes on.

The market now recognises the plastic rope andsisal is less and less to be seen in the markets.

INTRODUCTION1:

Tenkal mole Village

Ropemaking in Tenkal mole

Ready plastic ropes

1

Mr. S.C.Devaramani, A.D. MNSEC, Mysore,Mr. S.Sadananda, Director IDPMS,Mr. Seshaprasad, Cluster manager IDPMS,Mr. Chandrasekhar, ADS, Kuderu,Mr. Honappa, ADS, Kuderu,Mr. M.N.Mangalore SI andDesigner Mr. Karthikeyan Balaraman, Mr.Rajshekhar NarayanWere present at the inaugural function atKuderu, Chamarajnagar Dist, on 14 March 2005,at 11:30 am.

Mr. Devarmani spoke about the new opportunitythat is in front of the artisans. He suggestedthat the participants should learn come forwardto learn the new Designs. He mentioned aboutthe support provided by AHVY: a scheme to theSHG’s to generate income and contribute tothe economic growth.

Mr. S.Sadananda addressed the participantsabout the purpose of the design developmentworkshop and the seriusness that was expectedfrom each artisan. He said that this is aopportunity to learn new techniques and thatthe emphasis should be on learning. He spokeabout the various programmes taken up byIDPMS , and the continual support of theartisans in the entire development programme .Mr. Sadananda thanked the DC (H) for providingsuch an effective Programme for the ruralartisans.

INNAGURATION :

Innaguration of the workshop

Participnts of workshop

2

IDPMS started functioning in 1988, and it asjointly established by the Govt. Of Karnatakaand the Govt. of Netherlands. At the time itwas known as Indo Dutch Project ManagementSociety. IDPMS worked with variousdevelopment projects situated in Karnataka, andworking through these projects, theorganization gained experience and considerableknowledge and helped into its transformationinto a resource organization. The array ofknowledge includes issues for sustainablelivelihood, Women empowerment, Informationsystems, Environment and conservation.

IDPMS which truly means Initiatives forDevelopment through Participation ofMarginalized Sections, is committed to theeconomic growth of the rural poor.

IDPMS has been instrumental in formation ofSelf help groups for the past 15 years. Mysore,Chamarajnagar, Bellary and Bidar, Havery andGadag districts have been covered under theoperations.

5300 women involved in over 335 Self HelpGroups has been formed in the guidance ofIDPMS and presently more than 200 artisans inthe sisal fiber craft , in and around Kuderumolein Chamarajanagar Dist, have been coveredunder this umbrella.

About IDPMS:

Existing products

3

The current activities of IDPMS are:

· Skill trainings and Design developmentactivities in the field of Handicrafts

· Training programme on Micro enterprisedevelopment, PRA, PersonalityDevelopment etc,

· Guidance to Micro Enterprise,

· Formation of SHG’s and their successfuloperations,

· Strengthening of the local supportagencies ;Gram panchayat, ngo’s etc.

· Networking of SHG’s,

· Establishing access to formal creditorganizations,

· Training and orientation of bankingPersonnel.

· Market related services; linkages, upscaling of enterprises operations,

· Gender sensitization programme,

· Technology Development and Data BankServices,

· Income generation activities in craft areas,and other activities.

· Monitoring, Evaluation and Documentation,

· Counciling for enterprise activities.Existing products4

Agriculture is the main source of livelihood in andaround Kuderu.Sisal fibre is a large genius of shortstemmed, woody plants bearing a rosette of long,erect, pointed, fleshy leaves. About 275 piecesare distributed in tropical regions.

The Portuguese introduced agave in India in the15th century. They are completely naturalizedthroughout the country.

Sisal is grown in widely in India. It is small greenishgray hedge plant.

The leaves have a thorn at the tip and grows upto a height of4-5 feet. These leaves yield valuablefibre.

Sisal is locally called as katthale & Bhoothale itsBotanical name is Agave sisalana and it is locallyavailable in Chamarajnagar dist.

The propagation happens by removing and re-rooting the suckers.

Sisal fibre is a very strong, Lustrous natural fibreand can take wear and tear very well. Sisal iscommonly used for marine ropes.

Sisal is the favorite world wide for floorcoverings it is the most preferred natural fibredue to its clean smooth& shiny surface texture.

The most known application of sisal is ropes forlocal use.

SISAL FIBRE:

5

Sisal Growth

India exports sisal floor covering productsfrom Kerala and all fibre is Imported fromTanzania and china. Indian sisal is yet to gainits entry Into the export market.

Sisal is being extracted in Ananthpur (AP),Utharanchal, seoni (MP), Gokak (Karnataka)&Kanyakumari (TN). Sisal is used for making rops,cordage and twines.It’s also used for making hubcleaning fancy brushes used in bicycle.

Sisal fibre is available locally for Rs 10-15 perkg. and is generally sold in unwashed state. Thelocal people buy it for making ropes and it is usedgenerally in the same condition.

More and more extraction machines are being putin the district and that is facilitating the sourcingof the fibre by the village folk.

Sisal Fibre

flowers in the Sisal Plant

6

Since the number of artisans is more and theskill levels are average, the initial effortswere to introduce the concept of fineness,use of spinning skills to produce finer yarnswith sisal fiber. .

The products should mainly be for the localmarkets and exhibitions countrywide.

Using new techniques for the products, usingtechniques that requires low skills and usingthe colour combinations that appeal to themasses, would be the most appropriateapproach for this workshop.

The blend of Sisal with other materials likeBanana bark,which is abundant in theneighborhood, bamboo, Plastic rope which iscommon packing material, and cotton yarns,would give interesting results.

The use of the available technology for spinningof sisal, and different method of producingyarns would add more value to the endproducts.

Traditional braids when made using goodcolours and tight structure, can be veryinteresting and durable.

APPROACH FOR DESIGN INTERVENTION:

7

Multiple Strand Braiding:

The usual braiding technique involves three pliesand the resultant braid is usually a rounder andheavier braid. The four, five and six strand braidswere tried out for better stiffness, appeal andlight weight.

The traditional way of hand spinning broughtback, to make the fine Sisal twines, suitable forweaving and fine coiling.

Tie and Dye :

Sisal fibre is usually dyed with plain shades, thisis made more interesting with the traditional Tieand Dye technique using rubber tubes to tie thefibre bunch and dyeing to achieve amazing tie –dyed effects.

Fibre Stitching:

Using the fibre waste, opening them up andspreading on the newspaper, stitching across it,and then soaking the stitched layer in water todissolve paper.

This technique gave excellent results and openedup a possibility of a new range of products thatcan be developed from the fibre waste.

NEW TECHNIQUES INTRODUCED IN THE WORKSHOP:

8

Embroidery:

Embroidery with sisal fibre on Cotton fabric forfashion and fashion accessories. This producesinteresting results.

Frame weaving:

On a 17” wooden frame, weaving was tried withsisal, banana bark, using he braids and sisal twineswere tried out.

9

Working with banana bark

The braids were made blending two or threecolour fibres and that gave a very interestingsurface effect.

The natural palette is followed and thereforethe Products have a vey natural look, the coloursare more of minaral shades.

Five and four strand braids have been preparedusing plastic and sisal blends and also only sisal.The mix of material was also tried out and theavailable materials like Plastic packing cord andbanna bark were used.

Embroidery is a skill that is found every whereand Kuderu is no exception. Using the Sisal Fibre,Khadi fabric was embellished and used to makeitems like bags, coasters. The feel and look ofthis style is very new and is equally promising.

Design Development:

10

Some frame weaving was also done and a conceptwhere a long braid is used to make up a singleproduct was tried. The result is a veryinteresting bag, and the simple frame used givesease of working and the shape of the finalproduct.

Continuing on the same lines the same conceptwas tried on a wire frame , where in the wiremesh is removed after weaving of the bag andresult is a one piece , sturdy bag.

11

12

One interesting Product was developed fromFibre waste lying around , All the waste wasgathered , opened up properly, spread in betweentwo layers of News papers and stitched up fromthe top , forming checkered layers.

The stitched newspaper was then soaked in waterto remove the paper and the resultant as a nonwoven, stitched fibre layer. The interestingcolours makes an excellent surface for use inbags, screens etc.

The bags were stitched with foam leather andcloth lining. The light weight and the dramatictexture of the non woven fibre layer works verywell for a fancy bag.

Some Banana bark was braided with sisal andused for making a traditional braid bag. The lightweight of the Banana bark keeps the bag lightand the unique texture of surface makes theproduct very interesting.

The artisans also made products on formedsurfaces like pots. One bag was also made on aearthen pot and the round shape is retained verywell by the braid giving a fancy look and structureto the bag.

Sisal and plastic blended braid when woven on awire frame , gave a very light weight and sturdybag. Round and sqare frames were used for thesebags. In all the stitching thread has been replacedwith fibre and that makes the end product neatand strong.

Stitched up fibre

Products of the workshop

01 Beach bag

02 Holi Bag

13


04 Madke Bag

03 Lambani Bag

14


05 Melange Plate Bag

06 Peach Bag

15


07 Forest Bag

08 Frame Bag

16


09 Embroidered Costers

10 Coin Purse

17


11 Fruit Bowl

12 Floor Mat

18


13 Peach Long Bag

14 Pot

19


20

15 Rag Bag

16 Round Mat


17 Cusion Cover

18 Key Chain

21


22

20 Maize Bag

19 Granit

Putamma,Madamma ,Mahadevamma,Siddamma,Mahadevi,Mahesi,PuttammaBasamma,Mahadevamma&Shivangamma.

Rojamma, Puttabasamma,Chikkamahadevamma,Neelamma,Siddamma,Dundamma.Ratnamma,Puttananjamma, Anakamma & Rajamma.

Shivamma,Siddamma, Chowadamma, Mahadevamma, Manjula,Lakshamma, Gowarmma,Rangamma, Dodamma & Chikka theyyamma.

PARTICIPANTS OF THE WORKSHOP:

23

s.no. Name of the artisan Village Caste

1 Shivamma w/o Mahadevsetty Badagalamole OBC2 Siddamma w/o Basaasetty Badagalamole OBC3 Chowadamma w/o Morisiddasetty Badagalamole OBC4 Manjula w/o Basavanna Badagalamole OBC5 Lakshamma w/o Madhsetty Badagalamole OBC6 Mahadevamma w/o Kempasety Badagalamole OBC7 Gowarmma w/o Mahadevsetty Badagalamole OBC8 Rangamma w/o Chowdasetty Badagalamole OBC9 Dodamma w/o Siddasety Badagalamole OBC10 Chikka theyyamma

w/o Mahadevsetty Badagalamole OBC11 Putamma w/o Puttasetty Badagalamole OBC12 Madamma w/o Puttannasetty Badagalamole OBC13 Mahadevamma w/o Ranagasetty Badagalamole OBC14 Siddamma w/o Ramesh Badagalamole OBC15 Mahadevi w/o Rachasetty Badagalamole OBC16 Mahesi w/o Sommana Tenkalmole OBC17 Puttamma w/o Hanumantanaik Tenkalmole OBC18 Basamma w/o Govindasetty Tenkalmole OBC19 Mahadevamma w/o Nanjasetty Tenkalmole OBC20 Shivangamma

w/o Shivananjasetty Tenkalmole OBC21 Rojamma w/o chikkasiddsetty Tenkalmole OBC22 Puttabasamma

w/o Doddamahadevsetty Tenkalmole OBC23 Chikkamahadevamma

w/o Nanjasetty Tenkalmole OBC24 Neelamma w/o Puttaswamy Tenkalmole OBC25 Siddamma w/o Nagasetty Tenkalmole OBC26 Dundamma w/o Madhsetty Tenkalmole OBC27. Ratnamma w/o Basasetty Tenkalmole OBC28. Puttananjamma w/o Madasetty Tenkalmole OBC29 Anakamma w/o Nanjasetty Tenkalmole OBC30 Rajamma w/o Mahadevasetty Tenkalmole OBC

24

Participants in the workshop, felt that the workshopopened up their minds and the new possibility is nowseen in the Sisal craft.

It was a good time to work out different alternativeswith braiding and multiple colour braids. The dyingalso added flavors to the designs.

Mr. Devarmani, A.D. felt that this is a very goodbeginning and it should be taken ahead very seriouslyby the artisans.

Mr. K.S. Raghupathi, AGM, NABARD Chamarajanagar, was happy to see such good work done by theparticipants and he encouraged the artisans to put intheir sincere efforts.

Mr. S.C. Devaramani , Mr. Rajshekhar Narayan(Consultant Designer), and Mr. K.S. Raghupathi, Mr.Seshaprasad, cluster manager, IDPMS, were presentin the concluding session that ended with an interactivesession with the artisans.

Overall it was a good interaction and it was feltthat there should be serious follow-ups.

Conclusion:

25

1. The artisans should be exposed to the other groupsdoing work with fibres and that would open up newideas for working with similar materials.

2. The marketing support needs to be built up for thegroups so that they have regular work and theyproduce articles that sell well.

3. The Design workshop should be given to the artisansat least once in a year and the same artisans shouldbe trained further, and then these artisans shouldcontinue the work shop for another 15 days trainingthe new artisans in the newly developed products.

4. There needs to be basic machinery for cleaning andopening up of the fibres for better utilization of theraw material and better finish of the Products.

5. The basic skill training must be made more intenseand the different techniques that are used in othernatural fibres such as spinning, knotting, multi braids,crochet and macramé etc.

6. The groups should be encouraged to prepare a stockof the good designs that are developed in the designworkshop, and these should be taken to the market asearly as possible.

7. Simple Dyeing machines should be made available forcost effective and good quality of dyeing of the fibre.

8. The mixed material approach for the products shouldbe encouraged and more and more developments shouldbe taken up with mix of natural fibres.

Recommendations:

26

ResumeKarthik 31 Hartington Road Brighton BN2 3LJ 01273 604540

PROFESSIONAL QUALIFICATIONS

• 1997-2000………. National Institute of Design, Ahmedabad, India AEPEP Textile design

• 1994- 1997……. Govt College of Arts and Crafts, Chennai, India. B.Sc. Industrial Design in Textiles

• 1992 -1994…….. Govt College of Arts and Crafts, Chennai, India. Integrated preparatory course

PROFESSIONAL EXPERIENCES

• Consultant designer for Parry Murray, London • Free lance designer for Sylvie Martel Designs, London • 2 years with Bharat Tissus, India as a designer in jacquard and dobby

for furnishings from 2001- 2003. • 3 months as a contract designer with Chamundi silks, India and

developed a range of fabrics using indigenous silk yarns in jacquards and dobby -2003

• 2 months as a consultant for Pathi silks, India -2003 • 6 months working in the craft sector with Industree Craft and Craft

Council of India as a contract designer for their Natural fibre project in South India.

• 6 months as a designer for XYLEM, India for their project using textile

sensibilities on handmade paper.

27

DESIGN PROJECTS

WOVEN APPAREL Spring/Summer 2000 men’s casual wear collection Client: Marks and Spencer’s, UK INDUSTRIAL TRAINING Developed a range of nightwear for Autumn/Winter 2000/01 for Mafatlal Industries Limited, Ahmedabad, India. Client: Marks and Spencer’s, UK INTERIORS Developed concepts for space layout, furniture and textile elements for the Mill-Owners Association, Ahmedabad. Designed and produced all interior textile elements for Vedic Village Holiday Resort, Calcutta, India

ResumeCOMPUTER PROFICIENCY

● Ned Graphics (Dobby / Jacquard / carpets) ● Wilcom ● Soph● Adobe Photoshop, Adobe Page Maker ● Windows, MS OfExcel, Power Point, etc) ● Corel Draw

Acknowledgement and credits:

Designer : Karthikeyan Balaraman

Design associates: Mr. DevarajMr. Rajshekhar Narayan

MNSEC, Mysore: Mr. S.C Devarmani, A.D.

NABARD,Chamarajnagar: Mr. K.S. Raghupathi, AGM

IDPMS :

Mr. S. SadanandMs. GeethaMr. Sesha prasadMs. ParvatiMr. RameshMr. NagarajMr. Siddhappa

And all the others at IDPMS .

29

idpms - design development workshop 2005 - group 2

Health & Medicine